Fernande Garay.


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Fernande Garay.

If El Salvador Dali carries out his first fabrics at 12 years and if Pablo Picasso is allowed at 16 years in the Art schools of Madrid all the artists, same if they want the provisions or of it, are not early.

Often the life holds surprises, good and bad and in fact the risks of this one decide in the place of the person. Fernande Garay thus starts to paint relatively late but it accumulated, during every year when it wanted of painter, such a creative energy that when this one can be finally expressed at the great day it is a true explosion as well at the technical level as stylistic. Very pragmatic and full with energy the artist can adapt to all the constraints to be able to express itself and when the techniques do not exist it can also invent some. The influences as the methods are very diverse what results in not to be able to catalogue the artist in a movement or an artistic current but in several tendencies, especially its work never remains fixed well a long time in the same style and the techniques vary from one fabric to another.

A constant can however quickly be recognized it is the savage desire to give relief to the fabrics. In this direction will say to us that Liza carves the matter on the supports and we can describe it as "painter - sculptor". Indeed that it is by the use of painting on plaster which implies sandpapering, hollows and the full ones, by incorporation of various matters, paper joinings, newspapers, paperboards or fabrics, sand, glass, spices, grasses dried, plants, joining of matters on tissue paper, use of adhesive with tapestry on the support, passage of several layers of nut brou, scraping of the support using various ustensils, use of the charcoal or thick keys of colors to obscure or clear up contours, the desire to create relief is a constant in the artist.

Often the uninitiated persons think that the abstract artists cannot draw, as they do not include/understand the short cuts that the artists use because those imply a good knowledge of pictorial art as a whole, the commonly allowed idea is: "it is anything and no matter who could make in the same way". Moreover this idea was widely diffused by hoaxes remained famous and which consisted in making carry out works by animals and to then subject them to criticism. Of course the critic and the experts were ridiculed once revealed trickery. Thus let us consider two works of Liza at these beginnings and two works of its current period. Who can declare that the artist is not gifted for the drawing?

The artist has, moreover, faculty to carry out works which are true syntheses between various influences and pictorial movements. Thus Montmartre (prone expensive to the impressionists), can be regarded as a modern impressionist fabric revisited by the geometric abstraction and the colors of Fauvisme. The interpretation of the fabric celebrates of Cézanne the card players could have been carried out by Cézanne itself when it A starts to discover the abstraction and uses the forms - colors.

In many landscapes like Cadaques, Tossa de Mar, the Roofs of my Village, Liza uses the forms colors with the manner of Cézanne. The forms colors invented by Cézanne are the starting point of abstract painting But the artist can also apply the pure geometric abstraction to this topic of the landscape as in Eaux and Lights, Jardin or Veils with the Wind. With regard to Dead Natures they are very of abstract nature and preferably of a geometrical nature, the influence is rather cubic, the painters cubists as Braque and Picasso was the first to integrate by joining of actual materials on works what Liza often does whatever the subject of work.